Editing Star Trek V: The Final Frontier (section)

===Music===
{{Further|Music of Star Trek V: The Final Frontier}}
Music critic [[Jeff Bond]] wrote that Shatner made "at least two wise decisions" in making ''The Final Frontier''; beyond choosing Luckinbill as Sybok, he hired [[Jerry Goldsmith]] to compose the film's score. Goldsmith had written the Academy Award-nominated score for ''Star Trek: The Motion Picture'', and the new ''Trek'' film was an opportunity to craft music with a similar level of ambition while adding action and character—two elements largely missing from ''The Motion Picture''.<ref name="bond-133">Bond, 133.</ref> Goldsmith did not want to accentuate the film's comedy with music, feeling it would "[take] drama to the point of silliness". He focused on the God planet as his most difficult task.<ref name="shatner-213">Shatner, 213–214.</ref>

Goldsmith's main theme begins with the traditional opening notes from [[Alexander Courage]]'s original television series theme; an ascending string and electronic bridge leads to a rendition of the march from ''The Motion Picture''. According to Jeff Bond, Goldsmith's use of ''The Motion Picture''{{'}}s march led to some confusion among ''[[Star Trek: The Next Generation]]'' fans, as they were unfamiliar with the music's origins.<ref name="bond-133"/> Another theme from ''The Motion Picture'' to make a return appearance is the Klingon theme from the 1979 film's opening scene. Here, the theme is treated in what Bond termed a "Prokofiev-like style as opposed to the avant-garde counterpoint" as seen in ''The Motion Picture''. Goldsmith also added a crying ram's horn.<ref name="bond-134"/>

The breadth of ''The Final Frontier''{{'}}s locations led Goldsmith to eschew the two-themed approach of ''The Motion Picture'' in favor of [[leitmotif]]s, recurring music used for locations and characters. Sybok is introduced with a synthesized motif in the opening scene of the film, while when Kirk and Spock discuss him en route to Nimbus III it is rendered in a more mysterious fashion. The motif also appears in the action cue as Kirk and company land on Nimbus III and try to free the hostages.<ref name="bond-133"/> When Sybok boards the ''Enterprise'', a new four-note motif played by low brass highlights the character's obsession. The Sybok theme from then on is used in either a benevolent sense or a more percussive, dark rendition. Arriving at Sha Ka Ree, the planet's five-note theme bears resemblance to Goldsmith's unicorn theme from ''[[Legend (1985 film)|Legend]]''; "the two melodies represent very similar ideas: lost innocence and the tragic impossibility of recapturing paradise," writes Bond. The music features cellos conveying a pious quality, while the appearance of "God" begins with string glissandos but turns to a dark rendition of Sybok's theme as its true nature is exposed.<ref name="bond-134">Bond, 134.</ref> As the creature attacks Kirk, Spock and McCoy, the more aggressive Sybok theme takes on an attacking rhythm. When Spock appeals to the Klingons for help, the theme takes on a sensitive character before returning to a powerful sequence as the ship destroys the god-creature.<ref name="bond-135">Bond, 135.</ref>

The original soundtrack for the film was originally released by Epic Records, and included nine score tracks (mostly out of film order) and the song "The Moon Is a Window to Heaven" by [[Hiroshima (band)|Hiroshima]]. On Tuesday November 30, 2010, La-La Land Records reissued the soundtrack in a two-CD edition featuring the film's complete score on the first disc and the original soundtrack album and some alternate cues on the second disc.<ref>{{cite web|url=http://www.lalalandrecords.com/StarTrekV.html |title=La La Land Records, Star Trek V |publisher=Lalalandrecords.com |access-date=January 6, 2011 |url-status=dead |archive-url=https://web.archive.org/web/20101217013332/http://lalalandrecords.com/StarTrekV.html |archive-date=December 17, 2010 }}</ref>